DRAFT ONLY

DRAFT ONLY

Guidelines for Audiovisual and Multimedia

Collection Management in Libraries

Revised by: Sonia Gherdevich

Senior Manager, Collection Stewardship

National Film and Sound Archive of Australia

sonia.gherdevich@nfsa.gov.au

with contributions from the Audiovisual and Multimedia Section Standing Committee

Supersedes: Guidelines for Audiovisual and Multimedia materials in libraries and

other institutions /Bruce Royan, Monika Cremer et al for the IFLA Audiovisual and

Multimedia Section. The Hague, IFLA Headquarters, 2004. – 21p. 30 cm. – (IFLA

Professional Reports : 80)

Language: English

DRAFT ONLY

DRAFT ONLY

TABLE OF CONTENTS FOREWORD i

1 INTRODUCTION

1.1 Background 1

1.2 Scope 1

1.3 Key Definitions 2

1.4 Professional Associations 3

PART A MANAGEMENT OF AUDIOVISUAL COLLECTIONS

A-1 Acquisitions 4

A-2 Cataloguing 5-6

A-3 Access 6

A-4 Rights 6

A-5 Disaster Recovery Management 7

A-6 Staff Skills 7

A-7 Budget 8

PART B PHYSICAL FORMATS

B-1 Format Types 9

B-2 Packaging 9-10

B-3 Preservation 10-11

B-4 Storage 11-12

PART C DIGITAL FORMATS

C-1 Born-Digital Collection Works 13

C-2 Infrastructure and Systems 13

C-3 Preservation 14

C-4 Storage 14

Attachment A Professional Associations 15

Attachment B Cataloguing Standards 16

Attachment C Physical Audiovisual and Multimedia Carriers 17-19

Attachment D Preservation Standards for Digitising Audiovisual Works 20-21

Attachment E Storage Standards and Best Practices for Audiovisual Works 22-25

DRAFT ONLY

i

DRAFT ONLY

FOREWORD

This set of Guidelines updates the IFLA Audiovisual and Multimedia Section (AVMS)

Guidelines document originally developed and shared in 1982 and updated in 2003.

The scope of consideration and application has been narrowed to libraries only, as

per the core objectives of the parent organization. They have been updated in

format to conform with a table of contents endorsed by the now current members

of the AVMS Standing Committee.

IFLA AVMS continues to provide an international leadership forum which considers

the ongoing concerns of libraries having to do with audiovisual and multimedia

content and services.

As audiovisual and multimedia formats advance and emerge as the now dominant

carrier of expression of cultural heritage, the IFLA AVMS has needed to further

consider advances in content carrier types and the corollary adjustments in

managing collecting, description, access, storage, and preservation of audiovisual

and multimedia works. Born-digital materials, now a staple of AV content

demanded in libraries of all types, are now considered by these guidelines.

The current Guidelines revision has been led by our colleague, Sonia Gherdevich

from the National Film and Sound Archive of Australia with comment and guidance

from the balance of the 2016 AVMS Standing Committee membership.

I am most pleased to have collaborated with and offer thanks to these colleagues

as we release the updated Guidelines.

Prof. Michael J. Miller, MLS, MA

IFLA AVMS Chairperson, 2014-2017

DRAFT ONLY

1. INTRODUCTION

1

DRAFT ONLY

1.1 Background

The value of audiovisual works is formally recognised in several UNESCO1

conventions, namely:

Recommendation for the Safeguarding and Preservation of Moving

Images2 adopted by the General Council in 1980;

Memory of the World: General Guidelines to Safeguard Documentary

Heritage, 20023;

Convention for Safeguarding the Intangible Cultural Heritage of 2003;4

and

World Day for Audiovisual Heritage approved by the UNESCO General

Assembly in 2005.5

Collectively, these protocols place a cultural standing on the audiovisual work, its

integrity as an artefact and its inherent significance in capturing the stories that

form national identity. To this end, audiovisual works are considered an authentic

record of knowledge and creative endeavour, integral to the user’s experience

of a library’s collection.

Whilst audiovisual works have been present in library collections since their mass

production and public availability, they have often been regarded as the

anomaly given the complexities associated with non-print material and the

specialist skills need to manage them. In the digital age of production, the

collecting landscape continues to swiftly change and libraries need to adjust

accordingly.

Audiovisual and multimedia works continue to be part of the collecting fold and

regardless of their original format require libraries to focus specifically on

managing their permanence and accessibility.

1.2 Scope

Whilst this document draws on its predecessor, it is a contemporary approach

that offers better practice guidance for libraries to manage the audiovisual and

multimedia materials in their collections, represented in both physical and digital

formats.

These guidelines aim to assist in decision making and need to be applied as best

suited depending on the nature of the library and its legal obligations. The

document also assumes some basic familiarity with audiovisual material and a

core understanding of professional terminology used in the audiovisual context.

1 United Nations Educational, Scientific and Cultural Organization 2 http://portal.unesco.org/en/ev.php-URL_ID=13139&URL_DO=DO_TOPIC&URL_SECTION=201.html 3 http://unesdoc.unesco.org/images/0012/001256/125637e.pdf 4 http://portal.unesco.org/en/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html 5 http://unesdoc.unesco.org/images/0014/001469/146936e.pdf

DRAFT ONLY

1. INTRODUCTION

2

DRAFT ONLY

1.3 Key Definitions

In referring to audiovisual and multimedia collection works, the AVMS applies the

following definitions throughout these guidelines:

Audiovisual

Audiovisual mworks are to be understood as:

(i) visual recordings (with or without soundtrack) irrespective of their

physical base and recording process used, such as films, filmstrips,

microfilms, slides, magnetic tapes, kinescopes, videograms (videotapes,

videodiscs), optically readable laser discs;

(a) intended for public reception either by television or by means of

projection on screens or by any other means,

(b) intended to be made available to the public,

(ii) sound recordings irrespective of their physical base and the recording

process used, such as magnetic tapes, discs, soundtracks or audiovisual

recordings, optically read laser discs;

(a) intended for public reception by means of broadcasting or any

other means,

(b) intended to be made available to the public.

All these materials are cultural materials.

The definition of audiovisual materials is intended to cover a maximum of

forms and formats, trying to leave it open for further technical

developments.6

Multimedia

A combination of two or more digital media (text, graphics, audio,

animation, video, etc.) used in a computer application or data file,

such as an online encyclopedia, computer game, or Web site

(example: A 2 Z 4 Birders Online Guide). Multimedia applications are

often interactive, synonymous in this sense with digital media.

In a more general sense, any program, presentation, or computer

application in which two or more communication media are used

simultaneously or in close association, for example, slides with recorded

sound. Still images accompanying text are considered illustration. 7

6 http://www.unesco.org/webworld/ramp/html/r9704e/r9704e09.htm 7 http://www.abc-clio.com/ODLIS/odlis_m.aspx. Online Dictionary for Library and Information Science by Joan M.

Reitz

DRAFT ONLY

1. INTRODUCTION

3

DRAFT ONLY

1.4 Professional Associations

In referring to audiovisual and multimedia collection works, there is a range of

specialist and peak bodies that offer a wealth of information and provide

professional opportunities to network and engage with audiovisual experts of

international standing.

Many associations have local chapters where staff working with audiovisual

materials across and beyond the Galleries, Libraries, Archives and Museum

(GLAM8) sector can meet with a common sense of purpose.

see: Attachment A for a list of international professional audiovisual associations.

8 GLAM is an acronym for galleries, libraries, archives, and museums, although other versions of the acronym exist,

such as LAM, which incorporates only libraries, archives, and museums. More generally, GLAMs are publicly funded,

publicly accountable institutions collecting cultural heritage materials.

(https://en.wikipedia.org/wiki/GLAM_%28industry_sector%29)

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

SECTION A: MANAGEMENT OF AUDIOVISUAL MATERIALS

4

DRAFT ONLY

A.1 ACQUISITIONS

Librarians develop collections in alignment with their organisational goals. In doing

so, they should be aware of content available and often, originally created, on

audiovisual and multimedia formats.

The library’s collection policy should be explicit in its intention to include media

resources, articulating a selection criteria based on content and commitment to the

preservation of the original format where collected.

Libraries collecting audiovisual works will also need to be aware of the equipment

required to store, preserve and access the work.

There is a wide range of sources for acquiring audiovisual media. These include, but

are not limited to:

commercial outlets;

via the Internet;

broadcast industries;

production and recording companies;

funding bodies; and

private collectors.

Acquisitions can be received through:

donation;

purchase;

exchange;

gift;

bequest; or

legal deposit.

Each acquisition needs be fully documented recording relevant detail and

provenance related to the work. The key fields of information include, but not limited

to:

Table 1: Key fields of acquisition information

Administrative Content

Client Contact Details Statement of Significance

Provenance History Item Description

Date Received Item Format

Rights Details Quantity

Disposal Authority Condition Assessment

In all, libraries need to determine the reasons why they are collecting audiovisual

and multimedia works and their intended use and give due consideration to how

they will strategically manage these collections and associated equipment in a

sustainable way.

DRAFT ONLY

5

DRAFT ONLY

A.2 CATALOGUING

As a general approach media resources should be included in the central

catalogue of the library to provide maximum access and provide the user with the

widest experience that the collection has to offer.

In documenting an audiovisual or multimedia work, cataloguing practices and data

models should support the choice of shared and recognised standards. The depth

of audiovisual cataloguing is dependent on the library type, services and resources.

Notwithstanding, a meaningful intellectual and technical description of the work

must be captured in the catalogue record.

The audiovisual work needs to be catalogued as per the work in hand. This principal

also applies to digital files. Cataloguers need to audition the work in its entirety then,

catalogue each element of the work ensuring that the relationship between

content and carrier is maintained.

The content informs the intellectual description of the work and the format informs

the technical description of the work. If the work is made up of multiple components

and/or carriers, each of these should be catalogued individually.

No one set of data fields will apply to all audiovisual works and some fields relate

only to a specific format or generation of the work. The following table provides a

selection of key data fields for audiovisual catalogue records:

Table 2: Key fields for audiovisual and multimedia description

INTELLECTUAL DESCRIPTION TECHNICAL DESCRIPTION

Title Item Format

Alternative Title Item Type

Related Title Item Usage Category

Version Item Number

Series Title Technical Code

Episode Number Carrier Duration

Summary Condition Assessment

Medium Carrier Treatment

Genre Copy History

Country Of Origin Format Technical Information: Diameter

Language Format Technical Information: Width

Date Type Format Technical Information: Material

Duration Analogue Technical Information: Size

Matrix | Catalogue Number Analogue Technical Information: Stock Details

Credit Name Digital Technical Information: File Format

Credit Role Digital Technical Information: File Size

Record Label Digital Technical Information: Input File

Rights | Restrictions Storage Location

DRAFT ONLY

6

DRAFT ONLY

Audiovisual and multimedia works require a specific approach to cataloguing and

an understanding that certain fields of information correspond to specific

components of the work.

In all instances, authority control must be practiced where applicable and subject

indexing should be consistently applied serving the purpose of access as well as

data quality. Depending on the library type, they will need to determine which

subject headings or controlled vocabularies they need to apply to their cataloguing

records.

Whilst there are international standards for cataloguing multimedia and audiovisual

works, see: Attachment B for a list of cataloguing standards relating to audiovisual

material, the library will need to determine their applicability to the collection.

A.3 ACCESS

The ability to access audiovisual materials will depend on the library’s purpose and

resources. The Library will need to determine what formats the library will use for

access. In doing so, the library will also need to establish its policy on replacing

access copies.

For on-site use, the library will need to provide a suite of well-maintained equipment

to audition physical material and technical services for digital material.

For online access, libraries will need to enter into licencing arrangements and ensure

security measures are in place to protect the content from unlawful use.

Lending policies for audiovisual works will need to be tailored depending on the

library service and the nature of the collection. Formats for lending need to be

considered as do transportation options. Risk management strategies may need to

be applied when lending original works.

Weather a collection work is digitised or born digital, preservation or access

category materials, protocols covering accessibility to the audiovisual collection are

required. They speak to the importance of file security which is fundamental in the

digital content domain of collection management.

A.4 RIGHTS

In the area of rights, there are specific legal constraints in relation to sound and

moving images. In addition to copyright, there are producers' rights, performers'

rights, mechanical rights and other related rights which relate specifically to

audiovisual media.

The legal position for each work must be clearly established and documented for

every item in the collection. As laws differ from country to country, seeking

professional legal advice is recommended.

Licensing options are available to libraries to facilitate access to audiovisual works.

Attention must be paid to the restrictions of licenses and as such contracts should be

actively managed and kept current.

DRAFT ONLY

7

DRAFT ONLY

A.5 DISASTER RECOVERY MANAGEMENT

Even with the best preventative measures and risk mitigation strategies in place, the

possibility of a collection emergency occurring is always present. To this end, libraries

should operate with an updated collection disaster response and recovery plan for

their audiovisual and multimedia collection that covers both analogue and digital

material.

A plan of this nature should include, but not be limited to, the following procedures:

emergency identification;

response to a minor emergency;

response to a major emergency;

handling instructions for affected material;

collection evacuations; and

salvage prioritisation and treatment.

Library staff, working with the collection, are to be appointed disaster recovery

coordinators. They need to be supported and provided with training. Working within

teams, the plan should be tested annually and reviewed accordingly.

A.6 STAFF SKILLS

Library staff working with audiovisual and multimedia resources require as range of

specialised skills and knowledge in terms of:

acquisition selection;

format handling;

cataloguing;

rights management;

disaster management;

preservation treatment; and

storage facilities.

A heightened level of technical skill is needed when managing born-digital or

digitised works.

Managing audiovisual and multimedia collections requires extensive collaboration

and openness to change across a number of service areas in the library. Often the

best solutions come from a collective approach where expertise can be shared and

solutions agreed to. Staff roles and responsibilities concerning audiovisual and

multimedia resources should be clearly defined within the organisation of the library.

Ongoing training and continued professional development should be made

available to library staff and opportunities to seek assistance or professional

exchange programs with specialist institutions should be pursued. Online courses,

seminars and training information are also very helpful as is active engagement with

peak bodies and discussion groups.

DRAFT ONLY

8

DRAFT ONLY

A.7 BUDGET

Budgets for audiovisual collections need to include, but not be limited to:

acquisition;

packaging;

preservation;

storage;

equipment;

transportation;

security; and

insurance.

As libraries build their digital collection infrastructure, network and systems, these also

require an ongoing budgetary assignment. Many libraries manage hybrid

audiovisual collections (both physical and digital formats) which requires a higher

level of ongoing investment.

Library budgets vary significantly, and while a percentage will need to be assigned

to audiovisual and multimedia collections, sustainability is the key financial factor in

providing a quality service.

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

SECTION B: PHYSICAL FORMATS

9

DRAFT ONLY

B.1 FORMAT TYPES

Audiovisual and multimedia collection works exist in a range of formats captured on

one or more carriers. Libraries need to be able to identify each format and

determine which will be included in the collection.

Knowing the nature of the audiovisual collection will assist the library staff in making

decisions to serve the collection best. Many formats require specialist handling skills

for acquisition, cataloguing, storage, access and transportation tasks.

Understanding the format will also assist library staff learning about play back

equipment. Equipment needs to be considered an integral part of the collection

given that some formats require specific equipment to access the content.

Collections may include multiple format families reflecting generations of technical

development. Content on physical carriers may be captured using either analogue

or digital signals.

see: Attachment C for a list of audiovisual physical formats

B.2 PACKAGING

Packaging audiovisual carriers using professional packaging material is integral to

passive preservation practice. By packaging an audiovisual collection correctly, it

will ensure the longevity of the format thereby keeping the content accessible.

Libraries will need to keep a minimal stock of packaging materials in store. Specific

archival materials include, but are not limited to:

polypropylene film cans, cores and reels;

polyethylene record sleeves;

card inserts for records;

un-slotted hubs for reel tape;

jewel cases for optical discs;

acid and lignin-free storage boxes and document holders;

interleaving paper;

corrugated board;

negative protectors;

transparency holders;

plastic fasteners; and

cotton and latex gloves.

DRAFT ONLY

10

DRAFT ONLY

Libraries also need to consider that not all formats can be packaged with

commercially available products and that, in some instances, collection material

may require custom-made specialist packaging.

B.3 PRESERVATION

Libraries undertaking the preservation of audiovisual and multimedia materials

should make themselves aware of the developing standards and practices, and

model themselves on institutions recognised for their good practice or long

experiences in the field.

As libraries differ in their legal obligations to actively preserve collections in their

care, no single approach can be universally applied, each library will need to have

a preservation plan in place that serves the need its collection.

There are, however, some key concepts that need to be taken into account when

considering the level of preservation activity required to ensure ongoing access to

the audiovisual or multimedia work.

Preservation practices need to maintain the integrity of the material and aim to

restore, or stabilise, its content with a view of providing access to the material.

The physical composition and vulnerability of audiovisual formats must also be taken

into account. Deterioration of audiovisual works is influenced by the inherent

durability of the format itself. The rate of deterioration differs across physical formats

and while active and passive preventative measures may be practiced,

deterioration is inevitable over time.

To this end, regular condition assessments need to be undertaken and the findings

fully documented. Condition assessments and risk management inform preservation

priorities and strategies.

Preservation prioritisation may include, but are not limited to:

cultural significance of the content;

format obsolescence;

equipment obsolescence; and

usage category.

DRAFT ONLY

11

DRAFT ONLY

Preservation strategies that reduce risk to the collection may include, but are not

limited to:

arranging the collection according to medium, carrier type and

condition;

creating duplicate components or copies;

digitisation;

preserving on stable formats

migrating content to viable carriers; and

evaluating outsourcing options.

Preservation treatments or restoration processes are applied to bring the carrier

closer to its original condition and need to be fully documented for each carrier. In

the instance a work is copied, a record of its copy history must be kept.

Many libraries adopt digitisation as their principal form of preservation. Standards for

digitisation of physical media need to be set prior to the procurement of equipment

or external services. Simultaneously, information technology infrastructure, networks

and systems all need to be in place. Network speed and storage requirements are

also prime considerations.

see: Attachment D for a list of preservation standards for digitising audiovisual works

B.4 STORAGE

Storage of audiovisual collections needs to be approached both in terms of the

facility itself and the way the collection is stored within it.

It is indifferent to weather a work is a commercial release, home movie, in-house

compilation, professional or amateur in quality. If an audiovisual work is part of the

library collection, it matters how the format is stored so that content can be

accessed.

The audiovisual and multimedia vault is integral to the longevity and permanence of

a collection work. Storage conditions for audiovisual and multimedia carriers are

specific to their format and libraries need to be aware of international standards

that apply.

see: Attachment E for a list of storage standards and best practices for physical

formats

Audiovisual storage standard prescribes the optimal temperature and relative

humidity levels required to store audiovisual formats. In many cases, libraries will not

be resourced to strictly adhere to these standards and will need to take a risk

management approach to determine how the prescribed environmental conditions

can be sustainably applied.

The storage containers themselves vary in size and shape according to the diversity

of the carriers, and this has implications for the organisation of the storage area.

DRAFT ONLY

12

DRAFT ONLY

Vaults must be kept clean and designed such that collection movement is easily

achieved.

Storage facilities must be appropriately secure to minimise the risk of theft of, or

damage to, collection material. To this end, library staff with access to the vaults

needs to be limited.

Security and surveillance needs to apply to both manned and unmanned areas. Fire

detection and suppression services need to be in place and building management

systems that control heating, ventilation and air conditioning need to be regularly

serviced.

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

SECTION C: DIGITAL FORMATS

13

DRAFT ONLY

C.1 BORN-DIGITAL COLLECTION WORKS

The trend for audiovisual and multimedia works to be created in a digital format only

is on the rise and a future where all works are born-digital is expected.

As physical audiovisual formats have changed over the generations, the digital

format is the dominant content delivery format today. Accordingly, library

operations need to reflect this change mindful that there are multitudes of digital

image, audio, video and film formats available for content creation.

Regardless of the format, the emphasis remains on the significance of the content

and its relevance to the library’s collection policy when considering material for

acquisition.

Born digital collection works can be created in a variety of file formats both open

standard and proprietary. The library will need to have a clear understanding of the

range of file types they prefer and are able to support.

Born-digital collection works can also be received through a range of channels -

from digital content arriving on a physical carrier to direct ingest from the original

source. For audiovisual and multimedia acquisitions, the digital files need to be

quarantined for anti-virus inspection and quality control before being introduced

into the library network and collection management systems.

C.2 INFRASTRUCTURE AND SYSTEMS

Current trends in digital systems designs support end-to-end workflows, that is, from

acquisition to access. The result being that systems are integrated and the

information technology and communication (ICT) infrastructure provides a robust

environment, delivering speedy connectivity for file ingest, preservation and

transaction across the network.

In managing a digital audiovisual collection, ICT matters come heavily into play.

Hardware, software and systems will need to be implemented taking a holistic

approach and applied to each step of the collection management process. This

means there will be a network of systems needed for acquisitions, preservation,

cataloguing, storage and access.

Infrastructure also includes a suite of documentation articulating policies, protocols

and practices so that the collection is managed in a consistent and standardised

manner.

To successfully manage digital collections, an extensive range of staff expertise is

needed. Drawing on in-house resources and building on professional relationships

often results in the most suitable solutions. In some instances, expertise can be

contracted to provide the service needed.

DRAFT ONLY

14

DRAFT ONLY

C.3 PRESERVATION

For the preservation of digitised or born-digital works, solutions for long-term access

to the file format needs to be considered. In terms of audiovisual collection

management, this challenge is continuously present as technology advances at an

increasing rate. Libraries will need to consider a range of options when developing a

digital preservation strategy taking into account:

authentication - ensuring that original files have the attributes of standard file

formats;

sustainable file formats which enable control and standardisation;

preservation metadata - capturing the technical features of the file and

content;

replication - the creation of multiple copies of data at one or more locations

and on one or more systems;

refreshing - the transfer of data between two types of the same storage

medium while monitoring and maintaining data integrity;

migration - the transferring of data to a newer hardware and/or software

environment;

emulating the look, feel and functionality of legacy datasets/application or

websites can be crucial to the value of them as digital objects;

technical obsolescence both in terms of software and hardware;

data quality standards;

unique identification numbers for each file.

Libraries also need to consider that multiple strategies may apply to suit the needs of

their audiovisual and multimedia collection.

C.4 STORAGE

Digital collection storage solutions range from external hard drives to cloud

computing. Each solution incurs a degree of risk. As such, when considering storage

options the risk mitigating controls and measures that will need to be put in place,

continuously maintained and monitored must also be taken into account. Storage

capacity and growth rate of the digital collection are also prime considerations.

Currently, the most common approach is to store digital collections using disk storage

and a tape library robot to ensure the digital collection’s safety and security. Risk

management strategies include that the digital collection be backed up on Linear

Tape Open (LTO) tapes and 3 copies stored: online, onsite and offsite.

In some instances, a secondary digital storage site is also maintained to ensure

business continuity in times of unplanned service disruption. More recently, cloud

storage solutions is increasing in popularity. Factors to consider with this option include:

performance, reliability, security and cost.

By incorporating tape backup into digital preservation practices, migrating the digital

collection from one tape generation to the new generation is a proven sustainable

option in many instances. Collection emergency management must also include

provisions for the digital collection and its storage.

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment A: Professional Associations

15

DRAFT ONLY

Name Website

Association for Audiovisual and Education Technology Management https://www.aetm.org/

Association for Recorded Sound Collections http://www.arsc-audio.org/index.php

Association of Moving Image Archivists http://www.amianet.org/

Audio Engineering Society http://www.aes.org/

Coordinating Council of Audiovisual Archive Associations http://www.ccaaa.org/

European Audiovisual Observatory http://www.obs.coe.int/en/home

International Association of Broadcasters http://www.airiab.com/en/

International Association of Sound and Audiovisual Archives http://www.iasa-web.org/

International Council of Museums http://icom.museum/

International Council on Archives http://www.ica.org/

International Federation of Film Archives http://www.fiafnet.org/

International Federation of Television Archives http://fiatifta.org/

Society of Motion Picture and Television Engineers https://www.smpte.org/

Southeast Asia-Pacific Audiovisual Archive Association http://seapavaa.net/

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment B: Cataloguing Standards

16

DRAFT ONLY

RESOURCE LIST Anglo-American Cataloguing Rules. Prepared under the direction of the Joint Steering

Committee for Revision of AACR, a committee of the American Library Association . [et

al]. 2nd ed., 2002 revision. Ottawa: Canadian Library Association, 2002. (loose-leaf) (Co-

published by the Chartered Institute of Library and Information Professionals and the

American Library Association)

Association Française de Normalisation. Normes de catalogage. Domaine 164 :

Documentation

Association for Recorded Sound Collections. Associated Audio Archives. Rules for

Archival Cataloging of Sound Recordings. Rev. [US]: ARSC, 1995. x, 60 p.

Deutsches Bibliotheksinstitut. Regeln für die alphabetische Katalogisierung von

Nichtbuchmaterialien [RAK-AV]. Berlin : DBI. 1996

Die Deutsche Bibliothek: RAK-NBM-Präzisierungen. Frankfurt/M. 2001.

Die Deutsche Bibliothek. Arbeitsstelle für Standardisierung: Empfehlungen für

"Continuing integrating resources". Frankfurt/M. 200

Rules for Bibliographic Description [Russian Cataloguing Rules, RCR]. Moscow, 1986

Dirección General del Libro, Archivos y Bibliotecas. Reglas de Catalogación. Ed.

Refudida y revision con correcciones. Madrid, 1995

Fédération Internationale des Archives du Film (FIAF). The FIAF Moving Image

Cataloguing Manual. Written by Natasha Fairbairn, Maria Assunta Pimpinelli and

Thelma Ross for the FIAF Cataloguing Commission. April 2016

American Library Association. Guidelines for Bibliographic Description of Interactive

Multimedia. The Interactive Multimedia Guidelines Review Task Force, Laura Jizba [et al]

Chicago: American Library Association, 1994. xi, 43 p.

International Association of Sound and Audiovisual Archives. The IASA cataloguing rules

: a manual for description of sound recordings and related audiovisual media. IASA

1998.

International Federation of Library Associations and Institutions. ISBD (NBM):

International Standard Bibliographic Description for Non-Book Materials.

Recommended by the ISBD Review Committee, approved by the Standing Committee

of the IFLA Section on Cataloguing. Revised ed. London: IFLA, 1987. vii, 74 p.

International Federation of Library Associations and Institutions. ISBD (ER): International

Standard Bibliographic Description for Electronic Resources. Recommended by the

ISBD (CF) Review Group. Revised from the ISBD (CF) International Standard

Bibliographic Description for Computer Files. München: K.G. Saur, 1997. x, 109 p.

International Standards Organisation. 15706, Information and documentation –

International Standard Audivisual Number (ISAN). Geneva: ISO, 2002. v, 12 p.

National Film and Sound Archive of Australia, Accessioning Policy and Data Entry

Guidelines 2016.

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment C: Physical Audiovisual and Multimedia Carrier Formats

17

DRAFT ONLY

AUDIO

Carrier Type Year Medium

1/2" super vhs ( alesis digital audio tape) 1991- magnetic tape

1/2" vhs (pcm audio) 1977-1990s magnetic tape

3/4" u-matic (pcm audio) 1978-1990s magnetic tape

celluloid cylinder 1900-1929 mechanical

cellulose acetate based open reel audio 1935 - 1960 magnetic tape

coarse groove disc 1887 - 1960 mechanical

compact cassette 1962 - magnetic tape

compact disk recordable 1992 - optical

compact disk replicated 1981 - optical

compact disk rewritable 1996 - optical

cylinder recordable 1886 - 1950s mechanical

cylinder replicated 1902 - 1929 mechanical

digital audio stationary head (dash) tape 1982- magnetic tape

digital audio tape 1992 - magnetic tape

digital compact cassette 1992-1996 magnetic tape

dvd replicated (dvd audio) 1997 - optical

elcaset 1976-1980 magnetic tape

hi8 (tascam digital tape recording system) 1993-2012 magnetic tape

lacquer disc 1920-1970s mechanical

microcassette 1969- magnetic tape

microgroove disc 1948 - mechanical

mini cassette 1967- magnetic tape

mini disc recordable 1992-2013 magneto-optical

mini disc replicated 1992-2013 magneto-optical

piano roll 1896-2000s mechanical

polyester based open reel audio 1959 - magnetic tape

pvc based open reel audio 1944 - 1960 magnetic tape

recordable coarse 1930 - mechanical

shellac disc 1987-1950s mechanical

steel tape 1924-1940s magnetic tape

timex magnetic disk recorder 1954-1957 magnetic disk

vinyl disc 1940- mechanical

wax cylinder 1887-1950s mechanical

wire 1890s-1960s magnetic wire

FILM

Carrier Type Year Medium

acetate based 1910s- photochemical

nitrate based 1889-1950s photochemical

polyester, based 1950s- photochemical

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment C: Physical Audiovisual and Multimedia Carrier Formats

18

DRAFT ONLY

DOCUMENTATION

Carrier Type Year Medium

animation cel (traditional) 1915- paper (transparent)

glass negatives 1855-1920s glass

glass slides 1855-1920s glass

lobby cards 1910s- paper

magic lantern slides (photographic) 1850s-1950s glass

microfiche 1960s-2000s photochemical

microfilm 1930s-1980s photochemical

photographic negatives 1889- photochemical

photographic print 1889- photochemical

posters 1900s- paper

scripts 1910s- paper

sheet music 1470s- paper

transparencies (reversal film) 1907-1990s photochemical

MULTIPLE

Carrier Type Year Medium

compact disk recordable 1992- optical

compact disk rewritable 1996- optical

digital linear tape 1984- magnetic tape

dvd recordable 1997- optical

dvd rewritable 1998- optical

floppy disks: 3.0, 3.5, 5.25, 8.0 inch 1971-2000s magnetic disk

hard disk drive 1956- magnetic disk

jaz disk 1996-2002 magnetic disk

linear tape-open 1990s- magnetic tape

magneto-optical disc 1985- magneto-optical

memory card 1994- flash memory

syquest cartridge 1986-1998 magnetic disk

usb flash drive 2000- flash memory

zip disk 1994- magnetic disk

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment C: Physical Audiovisual and Multimedia Carrier Formats

19

DRAFT ONLY

VIDEO

Carrier Type Year Medium

1" a format 1965-1976 magnetic tape

1" b format 1976-1990s magnetic tape

1" c format 1976-1990s magnetic tape

1” open reel el-3400 1964-1970s magnetic tape

1” open reel el-3402 1968-1970s magnetic tape

1” open reel ldl-1200 1969-1970s magnetic tape

1/2" open reel ldl-1000 1969-1970s magnetic tape

1/2" phillips V2000 1979-1988 magnetic tape

1/2" phillips Video Cassette Recording (vcr, vcr-lp) 1972-1980s magnetic tape

1/2" super vhs (s-vhs) 1987-2010s magnetic tape

1/2" vhs domestic 1976-2010s magnetic tape

2" quadruplex high band 1964-1980s magnetic tape

2" quadruplex low band 1956-1980s magnetic tape

3/4" u-matic high band (bvu) 1986-1990s magnetic tape

3/4" u-matic low band 1971-1990s magnetic tape

3/4" u-matic sp high band (bvu) 1982-2000s magnetic tape

betacam 1/2" (oxide) 1982-1990s magnetic tape

betacam sp 1/2" (metal tape) 1986-1990s magnetic tape

betacam sx 1996-2000s magnetic tape

betamax 1/2" (oxide) 1975-2015 magnetic tape

blu-ray disc 2003- optical

cdv 1987-1991 optical

d1 4:2:2 19mm digital video cassette 1986-2000s magnetic tape

d2 19mm digital video cassette (composite) 1988-2000s magnetic tape

digital betacam 1993-2010s magnetic tape

digital video camera cassette 1999- magnetic tape

dvcam digital 1/4" 1996- magnetic tape

dvcpro25 digital 1/4" 1995- magnetic tape

dvcpro50 digital 1/4" 1997- magnetic tape

dvd recordable 1997 - optical

dvd replicated 1997 - optical

dvd rewritable 1998 - optical

hdcam 1997- magnetic tape

hi8 (high eight) professional 8mm (metal-e tape) 1987- magnetic tape

laserdisc 1978-2000 optical

mpeg imx 2001- magnetic tape

standard 8 video 8mm (oxide tape) 1985- magnetic tape

standard size digital video 6mm (consumer tape) 1995- magnetic tape

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment D: Preservation Standards for Digitising Audiovisual Works

20

DRAFT ONLY

COLLECTION USAGE TECHNICAL STANDARDS NOTES

AUDIO

Preservation Encoding: BWF

High quality recordings are digitised with sample-rate

of 96 kHz, 24 bit quantization

Lower quality recordings are digitised with sample-

rate of 48 kHz, 24 bit resolution

Broadcast Wave Format (BWF)

Standard: EBU 3285-

Digital items, like minidisc and DAT are

reformatted with their sample-rate and

quantisation preserved

IMAGES

Preservation Encoding: TIFF

DPI: 300 (at 8”x10”)

Image bit depth: 16

Greyscale: 8 bit uncompressed

Colour: 48 bit

Black and white is scanned using adobe RGB)

Negatives and Transparencies: sliding scale of

resolution depending on format

Tagged Image File Format (TIFF): Adobe

Standard: ISO 12639 --Graphic Technology --

Prepress digital data exchange -- Tag image

file format for image technology (TIFF/IT)

(formal name); TIFF/IT (common name

VIDEO

Preservation Encoding: JPEG 2000 lossless compression

Bit rate: Variable (constant quality encoding –

normally between 50Mb/s and 100Mb/s

Joint Photographic Experts Group (JPEG)

Standard: ISO/IEC 15444 –--Information

technology -- jpeg 2000 image coding system

Material eXchange Format (MXF) used for

exchange purposes

Soundtrack digitised as WAV file

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment D: Preservation Standards for Digitising Audiovisual Works

21

DRAFT ONLY

COLLECTION USAGE TECHNICAL STANDARDS NOTES

FILM – Small Gauge

Preservation Encoding: JPEG 2000, Capture Rate 50 FPS

Bit rate: Variable (constant quality encoding –

normally between 50Mb/s and 100 Mb/s)

Joint Photographic Experts Group (JPEG)

Standard: ISO/IEC 15444--Information

technology -- jpeg 2000 image coding system

Material eXchange Format (MXF) used for

exchange purposes.

Soundtrack digitised as WAV file

FILM – 16mm

Preservation Encoding: 16-bit Linear or log DPX [Digital Picture

eXchange]

RGBA [nfra-red defect-matte in Alpha ch for colour

stocks; Grey-scale for monochrome

[Black & white silver stocks]

Resolution: 2150 pixels Wide x 1334 pixels High

Frame-rate: As per original camera speed

Soundtrack digitised as .wav [RIFF Wave] file

SMPTE 268M-1994, File Format for Digital

Moving-Picture Exchange

Soundtracks digitised when available

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment E: Storage Standards and Best Practices for Audiovisual Works

22

DRAFT ONLY

FORMAT ENVIRONMENTAL STANDARD REFERENCE

AUDIO RECORDINGS Temperature

(Celsius)

Relative

Humidity

CD 21 50% ISO-18925:2008 Imaging materials - Optical disc media - Storage practices

DAT 11 50% ISO-18933:2006 Imaging materials - Magnetic tape - Care and handling practices

for extended usage

max. temperature depends of max. RH

17 30%

23 20%

Shellac Disc 7-10 45-50% Library of Congress Preservation

http://www.loc.gov/preserv/careothr.html

Audio Tape 11 50% ISO-18933:2006 Imaging materials - Magnetic tape - Care and handling practices

for extended usage

Standard specifies upper limits: max. temperature depends on max. RH

17 30%

23 20%

Vinyl Disc 11 50% ISO-18933:2006 Imaging materials - Magnetic tape - Care and handling practices

for extended usage

max. temperature depends of max. RH -same as magnetic within a stricter range

17 30%

23 20%

Wax Cylinders 7-10 45-50% Library of Congress Preservation

http://www.loc.gov/preserv/careothr.html

Wire Recordings 11 50% ISO-18933:2006

Imaging materials - Magnetic tape - Care and handling practices for extended

usage

Drier end of magnetic and cooler end of metal

Standard specifies upper limits: max. temperature depends on max. RH

17 30%

23 20%

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment E: Storage Standards and Best Practices for Audiovisual Works

23

DRAFT ONLY

FORMAT ENVIRONMENTAL STANDARD REFERENCE

DOCUMENTATION Temperature

(Celsius)

Relative

Humidity

Animation Cells -10 to +7 30-50% ISO-18911:2000 – Imaging Materials – Processed Safety Photographic Films –

Storage Practices.

Black and White

Photographic Prints

18 50% ISO-18920:2000

Imaging materials - Processed photographic reflection prints - Storage practices

Colour Still

Photographic

Prints

-3 50% ISO-18920:2000

Imaging materials - Processed photographic reflection prints - Storage practices

max. temperature depends of max. RH 2 40%

Glass Slides 18 30-40% ISO-18918:Ed. 1 (2000)

Photography - Processed Photographic Plates - Storage Practices.

Negatives 2 50% ISO-18911:2000 – Imaging Materials – Processed Safety Photographic Films –

Storage Practices.

max. temperature depends of max. RH

5 40%

7 30%

Paintings 18-22 45-55% Heritage Collections Council http://archive.amol.org.au/recollections/index.htm

Paper-based (posters,

scripts, scrapbooks)

18-22 45-55% Heritage Collections Council http://archive.amol.org.au/recollections/index.htm

Textile-based

(costumes)

18-22 45-55% Heritage Collections Council http://archive.amol.org.au/recollections/index.htm

Transparencies -10 50% ISO-18911:2000 – Imaging Materials – Processed Safety Photographic Films –

Storage Practices.

max. temperature depends of max. RH -3 40%

2 30%

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment E: Storage Standards and Best Practices for Audiovisual Works

24

DRAFT ONLY

FORMAT ENVIRONMENTAL STANDARDS REFERENCE

MOVING IMAGE Temperature

(Celsius)

Relative

Humidity

Black and White Film 2 50% ISO-18911:2000 – Imaging Materials – Processed Safety Photographic Films –

Storage Practices.

max. temperature depends of max. RH

5 40%

7 30%

Colour Film -10 50% ISO-18911:2000 – Imaging Materials – Processed Safety Photographic Films –

Storage Practices.

max. temperature depends of max. RH

-3 40%

2 30%

DVD 21 50% ISO-18925:2008

Imaging materials - Optical disc media - Storage practices

max. temperature depends of max. RH

LTO Tape 16 - 32 20-80% Imagtion manufacturer recommendations

treat as Magnetic Tapes see ISO-18933:2006

Imaging materials - Magnetic tape - Care and handling practices for extended

usage

Magnetic Film 11 50% ISO-18933:2006

Imaging materials - Magnetic tape - Care and handling practices for extended

usage

max. temperature depends of max. RH

17 30%

23 20%

DRAFT ONLY

IFLA – AVMS: Guidelines to Audiovisual and Multimedia Collection Management in Libraries

Attachment E: Storage Standards and Best Practices for Audiovisual Works

25

DRAFT ONLY

Nitrate -10 20-50% ISO-10356:1996

Cinematography - Storage and handling of nitrate-base motion-picture films

max. temperature depends of max. RH

2 20-30%

Video Tape 11 50% ISO-18933:2006

Imaging materials - Magnetic tape - Care and handling practices for extended

usage

max. temperature depends of max. RH

17 30%

23 20%

FORMAT ENVIRONMENTAL STANDARD REFERENCE

VINTAGE EQUIPMENT Temperature

(Celsius)

Relative

Humidity

Wood based 16-20 45-55% Heritage Collections Council

http://archive.amol.org.au/recollections/index.htm

Metal based Stable max.45% Heritage Collections Council

http://archive.amol.org.au/recollections/index.htm